OUR a per & Qurrepey POCKET EDITION OUR PAPER CURRENCY THE MOST COMPLKTK, ACCURATE; INSTRUCTION EXTANT IN REGARD TO ALL THE SAFEGUARDS GENUINE PAPER CURRENCY WHICH FURNISH INFALLIBLE INFORMATION. BYRON N. ROOKS. M-THOR AND PUBLISHER, MINNEAPOLIS, MINN., TO WHOM ALL ORDERS SHOULD BE ADDRESSED. RUTHERFORD & SMITH, PORTLAND, OR. " Entered according to Act of Congress, A. D. 1891, by BYRON N. ROOKS, in the office of the Librarian of Congress, Washington. D. C.' 1 Having for more than a quarter of a century been engaged in study and in imparting my Instructions on Genuine Currency to thousands of money handlers throughout the United States and Canada, and having been requested by hundreds of my patrons to put into print the facts conveyed by oral instructions, and having recently been urged to do so immediately by many worthy and eminent persons whose good opinion it will ever be a source of joy to know I possess I have at last concluded to do so. In doing so, however, I have intentionally omitted all explanation of the various processes by which genuine currency is made, for the very good reason that such information would merely satisfy an inquisitive curiosity of honest folk, without giving any more complete practi- cal knowledge, while such facts might be " hints" to a criminal class to better perform their nefarious work, that every good citizen should desire to suppress. Trusting that the principles herein explained will not be perused merely, but will be thoroughly mastered by all who read this volume, to the end that each may do his part toward the suppression of the circulation of counterfeit money, and with confidence that herein all of the reliable safe-guards that have been placed on all issues of paper currency ever placed in circulation by authority of the government have been simplified and made so plain that any one, even a child, can master them. I am, Sincerely yours, BYRON N. ROOKS. 2003132 INDKX. Page. I Preface 3 I Introduction CHAPTER I. Various Issues of Genuine Paper Currency CHAPTER II. Different Kinds of Counterfeit Paper Currency _. CHAPTER III Page. 5 Various Designs Found on Our Pa- per Currency Section 8 Artistic Engraving 27 1. Portraits 27 2. Drapery 29 3. Perspective 30 4. Background 30 5. Ornamental Work- 31 6. Solid Print 32 Section 9 Duplicated Designs . _ 33 Section 10 General Appearance. 23 Elements Quickly Recognized 35 CHAPTER IV. Section 6 Type in Numbers 48 Section 7 Character or Check Letters 49 Section S Signatures so Section 9 Stolen National Cur- fcaxy Notes 51 Section 10 Script Lettering 53 Section 11 Background of Treas- ury Numbers 53 Section 12 Feeling of Paper 54 CHAPTER V. Section 4 Portraits on silver Cer- tificates 59 Section 5 - Portraits on Gold Cer- tificates 59 Section 6 Portraits on Coin Notes 60 Sectio.i 7 Portraits and Vignettes on National Currency 60 CHAPTER VI. Questions and Answers in regard to Oral Instruction 65 CHAPTER VII. Fundamental Principles 14 Section i Texture of Paper 14 Section 2 Localized Fiber 16 Section ^ Silk Fiber 17 Section 4 Color of Paper 19 Section 5 Inks in Treasury and Bank Numbers 20 Section 6 Shadinsr of Letters 23 Section 7 Lathe Work 25 Minor Principles or Rules 38 Section i Inks in Seals 39 Section 2 Inks in Dark Impres- sions 41 Section 3 Inks in Printing Green hngravings 42 Section 4 Other Different Colors of Inks Emp oyed 43 Section 5 Altered Notes 45 Section 6 Charter Numbers 47 Description of the Artistic Engrav- ings on all Genuine .Notes 55 Section i Compound Interest Notes 56 Section 2 Greenbacks Proper 57 Section 3 Portraits and Vignettes on Treasury Notes Proper 57 Special Points 71 Section i Special Points onGreen- backs - ... 72 Section 2 Special Points on Na- tional Currency Notes 74 Section 3 SpecialPoints on Treas- ury Notes 78 CHAPTER VIII. How to Become Kxpert Reasons for the Necessity for Becoming Expert Endorsements and Recommendation* _ We have, for the greater part of a professional lifetime, successfully contended against the old method of " In- struction on Counterfeit Money" which furnished money handlers simply with a list of existing counter- feits, and made them depend for protection on memorizing these various issues, and also the " Special Points" on each counterfeit. " Special Points " are characteristics of the genuine wherein particular counterfeits are defective. Such knowledge we have honestly objected to, for the reasons that at best such information could only refer to existing counterfeits, would be burdensome to the mem- ory and be easily forgotten, for the reason that one could refresh his memory only by seeing the various counter- feits previously memorized ; and such information could offer no protection against future issues of counterfeits, and therefore gave no means for exciting suspicion while rapidly handling money. We have contended that the reverse is the only reliable, practical and lasting method of acquiring a complete knowledge of this very important field of bank work, namely, to become perfectly familiar with, to learn and master every distinctive characteristic of the genuine. When this is done, every genuine note handled refreshes the mind, and no counterfeit has ever been issued that while rapidly handling money would not excite suspicion by the general appearance ; and then by applying the fundamental principles that lie at the foundation of the execution of all genuine notes, the true character of the suspected note can be demonstrated to an absolute certainty, thus enabling one, not only to tell positively, but also to tell why a note is good or bad. This ability is only to be "secured by patient, faith- ful study of the genuine so that if any counterfeit is offered " a something wanting " will be instantly detected, and then by examination, by applying general principles, the special defects will be quickly noticed. There is no objection offered to one's becoming familiar with " special points " as aids in determining the charac- ter of any known and dangerous counterfeit, or in aiding to identify old and mutilated genuine notes on which such counterfeits have been issued, and the plates of which have been captured, but the point we insist on is that general principles that identify the genuine form, the only true guide for money handlers. The government has done better than is generally known in securing infallible safe-guards, and it is the object of this work to explain all of them. The counterfeiter will never cease attempting to secure money without honest effort by imposing upon those who, through lack of information, are his unwilling dupes. During the past twelve months the country has been flooded anew with counterfeits, and this will ever be. The government has issued a great many notes of different designs that con- fuse the money handler who is not familiar with the principles herein explained, and when one endeavors to protect himself from imposition by depending solely on a "Counterfeit Reporter," no matter how accurate and reliable it is, without becoming so familiar with the genuine as to enable him to stop the counterfeit when presented, how can he protect himself? We do not wish to condemn the various issues of reliable "Counterfeit Detectors," " Counterfeit Reporters" or any other reliable means that may be offered to furnish people with accurate information. They are good in their way, and every bank should have one, yet, as was said before, unless the money handler has the informa- tion that enables him to become suspicious, of what value is any such information? This knowledge can only be secured by becoming familiar with the genu- ine, and this can only be done by mastering the princi- ples and information contained in this book by learning from "Practical Instruction," or by long, patient ex- perience in following a fixed habit of studying the genuine, by comparing them with similar specimens known to be counterfeit whenever the opportunity offers. It is the object of this volume to give such a complete knowledge of the genuine that those who have had practical instruction may follow up the study, and become, indeed, expert, and that anyone with care can so thoroughly master that no Counterfeit, Spurious, Altered, Changed or Fraudulent note will be at any time accepted. CHAPTER I. VARIOUS ISSUES OF GENUINE PAPER CURRENCY. The various issues of "Our Paper Currency" ever issued by authority of the Government since 1860, may be aptly classified for the purpose of this book into : (i). Greenbacks. (2). National Currency Notes. (3). Treasury Notes. GREENBACKS. Greenbacks include all notes issued directly by the United States prior to the series of 1869, namely : (i). Compound Interest Notes (mostly withdrawn). (2). Demand Notes (mostly withdrawn). (3). Frac- tional Currency (mostly withdrawn). (4). Greenbacks proper. NATIONAL CURRENCY. The National Currency Notes include all notes ever issued directly by National Banks, namely : (i). National Gold Bank Notes of Cala. (2). Green- back National Currency Notes. (3). Brown-back Na- tional Currency Notes. Of the Greenback N. C. there were : 1. Those having small, pointed seal: (i). Some bear- ing no charter numbers. (2). Some bore charter num- bers printed in small black figures. (3). While others bore charter numbers printed in large, red figures, 2. Those bearing scalloped seal. TREASURY NOTES. The Treasury Notes include all notes issued by the Government since and including the series of 1869, namely : (i). Treasury Notes proper. (3). Gold Certificates. (2). Silver Certificates. (4). Coin Notes. Of these various issues there have not been, nor is it likely that there will ever be put into circulation any counterfeits on : (i). $500. Greenback bearing Albert Galatin's por- trait. (2). National Gold Bank Notes of California. (3). Greenback National Currency Notes bearing black charter numbers. There is no probability of these ever being counter- feited, for the reason that they were comparatively few in number, and have mostly been withdrawn from circulation, for counterfeiters always select bills that are most generally in circulation to counterfeit, because such notes are liable to be received without suspicion, and therefore with the least inspection, and also because they can have longer time in which to work off their notes before the genuine are withdrawn from circulation. Of the Greenbacks, and Greenback National Currency Notes, (bearing pointed seal) all denominations have been counterfeited excepting the $500 Greenback and the $500 and $1,000 National Currency Notes (bearing pointed seal) ; and yet, there is no probability of there being a new counterfeit made on these notes for the reason that they, too, have been nearly all withdrawn from circulation. It is worthy of note that the Government has not only gone to the greatest expense in securing for the people of the United States perfect safe-guards to enable anyone who takes the care to familiarize himself with them, to save himself from loss by imposition; but also to the end that our circulating medium be maintained pure, has consistently followed the policy of not issuing any more genuine notes of any particular design that has been successfully counterfeited. This policy is not only wise, but generous, and exhibits in clear light the watchfulness of our Government officials for the welfare of the entire people, no step remaining untaken to keep pure our circulating medium. VARIOUS DESIGNS FOUND ON OUR PAPER CURRENCY. A genuine bill or note is an impression on paper made from a steel or copper plate produced by lawful authority. These plates consist of various designs arranged in various patterns so as to represent : (i). By what authority the note is issued: (2). For what amount it is to be current. (3). The date of its issue. (4). Elements to identify each individual note. (5). Elements to identify it from all imitations, etc., etc. These various designs are arranged on two plates. One is employed to produce the face, and the other to produce the back of the note. These completed plates are made up of all the designs appearing thereon from original separate plates for each different design, which have been engraved separately, either by special artists, who stand at the head of their special calling, or by means of machines that are both expensive and difficult II to be procured only by honorable parties. These designs are in general arranged so as to produce : (i). The margins of the note, and (2). The body of the note. The margins are made up of various designs, many of which are frequently duplicated, viz : Figures, letters, words, lathe work and ornamental designs in the shape of flowers, leaves or other embel- lishments. The body of the plate is more or less covered with the general lettering of the note, and the shading of these letters, lathe work, artistic engravings, numbers of vari- ous kinds, seal, signatures, dates, series and other designs too numerous and varied to be mentioned. The lettering in the descriptive matter consists of white or black letters, or white letters with other designs engraved thereon. The panel principle is very frequently employed in making up the form of the note. These panels are open or closed. The open panels stand out in bold relief and are usually found resting on other designs, as the solid print in the lathe work. The enclosed panels are of a great variety of designs, and may have background made up of ruled, straight or curved lines, drawn with unerring accuracy by various mechanical processes. They also may or may not be surrounded by other embellishments, as is frequently the case in those panels upon which the serial numbers are printed. CHAPTER II DIFFERENT KINDS OF COUNTERFEIT PAPER CURRENCY. All of the different varieties of counterfeit paper money are known and recognized as belonging to one of four classes, viz : (i). Counterfeit Notes. (2). Spurious Notes. (3). Altered Notes. (4). Fraudulent Notes. This classification has reference to the nature of the issue in regard to the kind of a counterfeit it purports to be. When a note is made purporting to be a fac- simile of some existing genuine note, it is then termed "A Counterfeit." When a note is made of a design not like any existing genuine note, it is called a "Spurious Note." When a counterfeit or a spurious note has been changed, or has been printed from a plate that has been changed so as to indicate that it is a note of some other nature than that on which it was originally made to represent, it is called a "Changed" or "Altered" note. When a genuine note has been changed so as not to represent its lawful amount, it is called an "Altered," "Raised" or "Pieced" note, according to the manner in which it has been changed. When a National Currency note has been stolen, and put into circulation before the signatures of the proper bank officers have been lawfully placed thereon, it is called a "Stolen" note; if said signatures have been 13 placed thereon by unlawful authority after they have been stolen, it is called a "Forged" or "Stolen" note. All altered, raised, pieced, stolen or forged notes are called "Fraudulent Notes." Counterfeit paper money is also known by the process by which it has been manufactured, namely ; (i). Steel Engravings. (2). Copper Plate Engravings. (3). Stone Impressions. (4). Tin Plate Impressions. (5). Wood Engravings or Wood Cuts. (6). Photo- graphs. (7). Electro-Photographs. (8). Pen and Ink Counterfeits. (9). Altered Notes and (10). Stolen Notes. Of these counterfeits, the Steel Engravings, the Copper Plate Engravings and the impressions from stone are the most dangerous. The Altered, Wood-Cut, Photograph, Electro- Photograph and Pen and Ink productions need simply ordinary care to detect them, while the stolen notes must be memorized to insure protection. Some persons have been unduly alarmed by the number of photographed counterfeits enumerated in Counterfeit Reporters, as by photography only white and dark colors are taken, and although the black engravings can be accurately taken, all other colors are taken dark, and must be retouched by brush or reproduced from engrav- ings. This retouching is so poorly done that they ought not to deceive any one who has a good idea of the high standard of artistic perfection found on all genuine notes. The texture of the paper and the want of fiber also condemn these counterfeits., FUNDAMENTAL PRINCIPLES. 1. Texture of Paper. 2. Localized Fibre. 3. Silk Fibre. 4. Color of Paper. 5. Color of Inks in Treasury and Bank Numbers. 6. Lathe Work. 7. Shading of Letters. 8. Artistic Engraving. 1. Portraits. 2. Drapery. 3. Perspective. 4. Background. 5. Ornamental Work. 6. Solid Print. 9. Duplicated Designs. 10. General Appearance. CHAPTER III. FUNDAMENTAL PRINCIPLES. SECTION i. TEXTURE OF PAPER. The foundation of all of the Government securities on our paper currenc)', is the paper upon which the genuine is printed. The genuine paper is of a tough, elastic, durable 15 "texture" ; having usually a smooth, hard surface finish, and is best adapted to receive the various impressions printed thereon. Owing to the texture of the genuine paper, good notes ought not to have a tendency to be brittle, or to break in straight lines at right angles with the length of the note ; and they never do so unless folded for a long- time or being heavily creased. In those genuine notes in which are found the parallel silk thread running lengthwise through them, the texture of the paper is so weakened that they have a tendency to tear in the line of these cords. Therefore, when a note shows evidence of being brittle, breaking at right angle with its length, it is a very suspicious fact and such a note should invariably be proven to be genuine by other tests before accepting it : whereas, the fact of a note tearing along the line of the silk thread forms a presumption in favor of instead of against the bill. The paper used by counterfeiters is usually of a very inferior texture and is always of a poorer quality to that used by the Government. Many counterfeits are printed on paper little better than blotting paper, of so loose a texture that when folded they break readily, while others approach nearer to the fine finish of the genuine. The texture of the genuine paper and the "distinctive quali- ities" of the paper employed in printing genuine notes will ever be among the chief safe -guards that can be secured to assist in identifying the good and the detection of all counterfeits. i6 SECTION 2. LOCALIZED FIBER. If a "Localized Fiber" note be held up to the light in such a way as to permit one to look through it, he will discover a great many small fibers or substances resem- bling hair or finely cut straw. On more careful examination it will be discovered that these fibers are of red and blue colors, and that the blue greatly predominate, apparently a thousand to one. This fiber is a colored substance called jute, and was put into certain paper that was formerly used in printing government securities, the process for the manufacture of which is owned by the government, and a heavy penalty is imposed on any one who endeavors even to imitate it. This "Jute Fiber" appears more abundantly in certain sections of the note, either lengthwise or across the bill, giving rise to the term by which it is most commonly known as "Localized Fiber"; and the blue color so greatly predominates over the red, it gives to the bill a blueish localized tint, more or less plainly marked as it lies near the surface either on the back or face of the note. This ' 'Jute Fibery paper was used : (i). In some Fractional Currency notes. (2). In a few of the National Currency having pointed seal. (3). In Treasury notes printed prior to the series of 1880. (4). In National Currency notes having red, scalloped seal, and "Series of 1875," in which the silk-fibered paper was not used. This jute fiber was fairly well imitated on the $500 Treasury note, series of 1869, bearing J. Q. Adams' . portrait, in which the material used by the counterfeiter seems too coarse and the red color predominates. It has been most nearly imitated on the "Smith Plate," $100 National Currency counterfeit, run off among others on the Pittsburgh National Bank of Commerce, of Pittsburgh, Pa., which was such a succeesful imitation that the Government abandoned this "Jute Fibered" paper and adopted the silk fibre paper which will be explained in the next section. The most frequent way in which this localized fiber test has been attempted to be imitated is by printed marks in the locality where the genuine jute fibers should appear. SECTION 3. SILK FIBER. The government abandoned the use of the jute to adopt an improved quality known as the "Silk Fibered" paper. If a silk-fibered note be held up to the light, so as to enable one to look through it, he will notice running lengthwise across the bill either one or two silk threads either of a red or blue color;; while in some specimens there will also be observed more or less additional frag- ments of silk scattered promiscuously through the paper. There is no evidence of predomination in the red or blue when the silk fiber is used. The silk-fibered paper was used by the government : (i). In printing all Treasury notes that have been printed and issued since the series of 1880. (2). Many Treasury notes bearing date previous to 1880 will be found printed on silk-fibered paper, for the i8 reason that the old plates in many instances have not been replaced with those bearing more recent dates. Should you, therefore, find a note bearing series of 1878, for instance, with silk-fibered paper, it is what you are hereby cautioned to expect. (3). This silk- fibered paper was also used in printing all National Currency notes having brown backs. (4). And on many N. C. having green backs and bearing red, scal- loped seal, in which the jute fibre was not used. This test has not been successfully imitated. The imitations found on the counterfeits that have come to our notice have been few and readily detected. On $i, $2, $5 and $10 Silver Certificates, and on $10 Brownback National Currency Notes run off on the Third National Bank of Cincinnati, O., and the Germania Na- tional Bank of New Orleans, La., that we have examined, the imitations have been made : 1. By a crease that is made to deceive the inex- perienced only. 2. By a dimly printed line running across the bill. 3. By a deeply printed line running across the bill that colors the paper and stains it. 4. On the "Japanese" $2 counterfeit Silver Certificate, Department Series, 1886, there seems to have been an attempt made to put into the texture of the paper some- thing that closely resembles the silk thread. However, I have been properly informed that the government is now engaged in procuring additional security for money handlers to be first used in printing a new $2 Silver Certificate with Mr. Windom's portrait thereon, to take 19 the place of the Hancock $2, which they are about to retire. This is the fixed policy of the government, namely, that whenever a dangerous counterfeit has made its appearance that closely resembles any of the govern- ment safe-guards, to make new designs for that particular denomination or issue, or to adopt new and improved distinctive quality of paper for future issues. SECTION 4. COLOR OF PAPER. All genuine bills are of a clear white color when new (excepting those printed on distinctive colored paper) of a buff or ecru color when old. When soiled, genuine notes are nearly always soiled in spots, for the reason that they are accidentally soiled. Counterfeit notes are very seldom, if ever, uttered when clear white, for the obvious reason that they know wherein their notes are defective, and should they issue their notes unsoiled the defects would be quickly noticed by an ordinary judge of engraving, and thus lead to their arrest ; therefore the counterfeiter, or more properly speaking, the ' ' Shover of the Queer ' ' seldom ever passes his bills new, but with great skill and care he gives to his notes a uniform, old or soiled appearance, by satu- rating them in glycerine, nicotine, coffee or tan-bark juice. This gives an appearance of honest age or abuse to the note, and tends greatly to cover up, obscure and lessen the striking defects in the counterfeiter's work, and when passed for the first time these counterfeit notes often have the appearance of having passed and re-passed until nearly ready for redemption. The counterfeiters are aware of the unreasonable yet almost universally entertained prejudice against new and in favor of old or worn notes, and use it to their nefarious advantage. The fact of a bill being pure white is nearly a positive evidence of its genuineness, while a glycerine, nicotine, tan-bark, coffee or gray color of paper should give rise to a reasonable suspicion against the bill. Again, a rich, clear yellow, cream, ecru hue when a note is old is very much in favor of its being genuine, and has not been perfectly represented in any counterfeit bill that has come to my notice. SECTION 5. INKS IN TREASURY AND BANK NUMBERS. The inks used in printing the serial numbers on genu- ine money are of three colors: ( i) Red, on all three issues; (2) Blue, on last two issues ; (3) Brown, on some of the Gold Certificates, others being numbered in blue. These several inks are manufactured expressly for the government's use, and are very thin, of the very best quality and best adapted for numbering ; while they are very difficult to be obtained by counterfeiters, and on account of their qualities are not suited to be used on the paper employed by counterfeiters. The red ink forms the most reliable safe-guard, and has never been perfectly imitated. The blue ink has been more perfectly imitated, is not so reliable nor so indelible, and the brown ink has not as yet been attempted to be counterfeited. The genuine inks are very thin, and under the pressure used are forced into the body of the genuine paper, this quality of being imbedded below the surface of the paper being a marked characteristic of the genuine. With age the genuine red ink in the serial numbers does not fade, crack or peel off, but, on the contrary, intensifies. There are several shades of red ink used in printing the numbers in genuine currency. In the Greenbacks, the deepest vermil ion or blood-red was employed, having a glossy deepness that is foreign to most counterfeits. The Greenbacks were all numbered in round type, and in judging the genuinesss of these notes, it is the uni- formity, intensity and the depression of the numbers that should be considered, together with the quality of type employed, and. not uniformity of size or position of the individual figures, as they sometimes vary in the genuine. The red ink used in printing the National Currency was a shade heavier or deeper than that employed on the Greenbacks ; frequently a marked difference can be noticed in the shade of the inks in the Treasury number and that used in the Bank number in the same specimen, the bank number being deeper or darker. The numbers on the Treasury notes are printed in the heaviest type, and the ink, therefore, appears the deepest of all issues ; and some of these are so heavy that they occasionally appear somewhat upon the surface, but on careful exam- ation this will be seen to be appearance only. The red ink used in printing the numbers on Counterfeit notes is usually surface ink, on account of the fact that they cannot employ the thin ink of the genuine on account of the inferior texture of their paper ; their ink being printed upon the surface is exposed to atmospheric in- fluence, and cracks and peels off and fades away instead of intensifying with age. The best and only respectable imitations of the red inks in numbering on counterfeits are on $20, $50 and $1000 Greenbacks, and on $5, $10, $20, $50 and $100 Greenback National Currency Notes having pointed seal, and the $100 Greenback National Currency having scalloped seal. The blue ink was not used on the Greenbacks, there- fore, the lighter shade of the blue appeared on the National Currency and a shade deeper on the Treasury Notes. The blue ink on the National Currency having pointed seal was not reliable, as in the genuine it some- times changes to a brown, green, or black. O:i such National Currency Notes as bore a pointed seal where the blue was used only in the Treasury Number, the blue not being reliable should be disregarded as to the color, and the red ink only should be examined. In such cases, however, the blue can be examined in reference to the quality of being depressed below the surface. The Treasury number is that found in the upper right hand portion of all National Currency Notes excepting on $i and $2, on which it is printed across the left end of face. The bank number is that printed in lower left hand portion of face excepting on $i and $2, in which it is printed in the place occupied on other notes by the Treasury Number. On the $5 Brownbick National Currency Notes the blue ink only was used, and on the Treasury Notes the blue as well as the red was employed in printing both numbers, and was supposed to be reliable. On the $50 23 Treasury Note, series 1869, bearing Henry Clay's por- trait, there has been one of the most successful counter- feits ever issued. On this counterfeit, however, the ink appears black or a bluish black instead of the deep indigo blue that is on the genuine. On the $i, $2 and $5 of the Silver Certificates, the blue ink has been most successfully imitated, so much so that the government, I understand, will soon discontinue the blue ink in num- bering all future issues. They would be wise in doing so. SECTION 6. SHADING OF LETTERS. The shading of letters consists of very fine, evenly drawn lines and spaces. The lines are exactly the same in size, precisely the same distance one from the other, parallel and uniform throughout. The shading of letters on genuine money has a ten- dency to fade away or grow indistinct with age ; while this tendency is less noticeable in most counterfeits, their shading having a tendency to hold their own. This tendency of the shading of the letters to fade away with age in the genuine seems to be directly in proportion to the amount of ink used in printing, and therefore is most noticeable on the Greenbacks, less on the National Cur- rency Notes and least on the Treasury Notes. The fact of the shading of letters having a tendency to fade away with age in the genuine, is partly accounted for by the fact of the color of the paper in the genuine changing with age from a pure white when new, to an ecru, buff or "distinctive color" as they grow older, while the counterfeits do not, for the reason of the 24 abused or "doctored condition" in which they are first uttered. Examine the shading wherever found, but principally around the most prominent words on the bill, excepting : 1. On $5 Greenback National Currency note, White's plate, run off on the First National Bank of North Hampton, Mass., the Merchants National Bank, of New Bedford, Mass., and the Hampden National Bank, of Westfield, Mass., where it should be examined beneath the words "Five Dollars," and it will be found uniform in the genuine, while wedge-shape in the counterfeit, the lines beneath the word "Dollars" being farther separated one from the other than they are beneath the word "Five." 2. On $10 Greenback National Currency notes, having pointed seal, in New York, one should look for the shading beneath the words "National Currency" for the most dangerous counterfeit $10 N. C. ever issued was run off on banks in this state, and the lower line beneath the word "Currency" is fully twice as wide as the other lines. The shading of the letters was made lightest on the Greenbacks, a shade darker on the Nat- ional Currency notes and the darkest of all on the Treasury notes, excepting on $20 on the Greenback issue which is nearly as dark as the Treasury notes. However, owing to the mode of wiping the plates while printing genuine notes, there will be noticed quite a variety in the shade of the shading on different specimens of the same denom- ination and issue. This should be carefully noted and always borne in mind,* but as the shading is printed with 25 the same impression that prints the other dark engravings, the fact of whether the darkness of the shading is owing to the lack of care on the part of the printer, can be proven by testing the lights and shades of other designs. CAUTION: On some genuine $5 Greenback National Currency notes there will be noticed a defect beneath the words "National Currency," the lower line being larger than the rest. This plate was accepted, however, and many notes were printed on it before a new plate was made and this defect corrected. SECTION 7. L,ATHE WORK. Lathe work should be examined wherever found, but principally around the denominational counters, and consists of five elements : 1. Endless curved lines of the same size. 2. Regular indentations between the curves along the outer border. 3. Similar spaces between similar lines being precisely the same in size. 4. A marked perspective. 5. Secondary lines or designs wherever found must appear as secondary lines, and not as primary lines, as in most counterfeits. No allowance whatever should be given for age where the lathe work is printed on a black background, unless erased or defaced by apparent mutilation. Where the lathe work is printed on a green background great allowance should be given for age, for the reason that the moisture in the atmosphere seems to melt the genuine 26 green, or cause it to "flow or blur," whereas the green used by counterfeiters seems to better hold its own and remain steadfast, exhibiting their irregularities more or less distinctly. This principle of the lathe work is of great value to aid in the detection of counterfeit notes, or to identify the genuine after suspicion has been once aroused. The lathe work is produced by means of the lathe machine, that does its work with unerring accuracy, which machine is so constructed that duplicate en- gravings of the same design cannot be produced even by the government, save by means of the transfer machine. The counterfeiter usually does this lathe work by hand, and whenever so produced, his work will cer- tainly fail in one or more of the above elements, and always in the similar sized spaces, the perspective and the secondary designs. Many counterfeits utterly fail in all five of the essen- tial elements of genuine lathe work ; some have the endless curves almost perfect, and others have the inden- tations nicely imitated, but unless the lathe work is from a genuine plate or from a photograph they must always fail in all of the last three elements mentioned above. Sometimes genuine lathe work, or work approaching very nearly the appearance of the genuine, is found on counterfeit notes, owing to the fact of stolen impressions or sections of the genuine plates. This, however, has never happened only in a very few instances. The best representations of the lathe principle found on counter- feits, and those which are liable to deceive, are : (i). On backs of $50 and $100 of the Compound In- 27 terest Notes. (2). On back of "D" plate $10 Green- back bearing Abraham Lincoln's portrait. (3). On "A," "B," "C" and l 'D" plates of the $1000 Green- backs bearing Robert Morris' portrait. (4). On "A" plate $100 Greenback National Currency Note. (5). On "A," "B," "C" and "D" plates of the $500 Treas- ury Note, series 1869, bearing J. Q. Adams' portrait. (6). On $2 Silver Certificates Department Series 1886, bearing General Hancock's portrait. SECTION 8. ARTISTIC ENGRAVING. Artistic engraving consists principally of six elements : i.. Portraits. 2. Drapery. 3. Perspective. 4. Background. 5. Ornamental Work. 6. Solid Print. I . PORTRAITS. Every portrait found on genuine paper money should be life-like, full of expression and natural in every fea- ture, viz : Eyes, mouth, nose, chin, ear, hair, eyebrows, whiskers and flesh test wherever the flesh is exposed. The eyes must be clear, natural and expressive, not having a dead, dull appearance, more like black dots, as is frequently the case in counterfeits. The mouth should be very natural, expressing the individuality of the character represented. 28 The nose, chin and ears appear true to nature, and are ofttimes rare specimens of artistic skill. The hair, eyebrows and the whiskers, if any are repre- sented, are executed with such delicate and exquisite taste and skill that these alone lead to the detection of nearly every counterfeit note ever issued. The " Lights and Shades," that so nicely blend into the natural appearance of real living persons under the skillful hand of the first-class special artists employed by the government, are so poorly copied by the "all-around" engraver, that the counterfeiter is compelled to be, that their usual effect is simply shocking to the skillful eye ; while their best efforts sink into plainly defective copies where the test of the Lights and Shades is applied. The Flesh Test consisting of one or more of several elements ; lines, dots, dashes, open diamonds and open diamonds with a dot or dash in the center, so worked in and blend- ed that the result is the natural expression of the human face ; purity and intelligence being marked characteristics of genuine portraits. These several elements above mentioned are the magic elements that the intelligent and true artists combine by their own unfettered genius to produce the ideal and sub- lime expressions of the human face. No vile wretch of a counterfeiter has the moral element of character that is essential to produce pure, elevated, virtuous expressions of the human face. This idea has been so impressed on my mind by experience that it is worthy of record that no counterfeiter ever lived who produced a female portrait with the pure expression found in the genuine, true to 29 the maxim that no artist can ever accomplish anything above or superior to his own ideal. The tendency of the counterfeiter to unconsciously give expression to his own sentiments and emotions is frequently exhibited in the frightened, unnatural and debased expressions of portraits on counterfeits. President Garfield's portrait on the $5 Brownback National Currency Note illustrates in a fine way all these elements of the Flash Test. In testing the expression of portraits on bills that are some- what worn it is often best to hold them off at arms length, when the true impression that the note has received will be apparent. No allowance should be given for age in the expression of portraits unless covered up or erased. 2. DRAPERY. The Drapery consists of various materials artistically represented so as to appear true to life. The ' ' Lights and Shades ' ' form the distinguishing characteristic of drapery engraving. Irregularity in the lines, dots or dashes, of which this department of artistic engraving is composed, or the slightest deviation in the size, distance or dimension of any of the elements repre- sented in the genuine necessarily produces a difference in the lights and shades, which a person perfectly familiar with the genuine readily detects. It is, however, worthy of remark that this difference must be real to condemn, as in many genuine notes, owing to the process of wiping the plates when printed, these lights and shades vary greatly in the deepness or darkness of the impression in different genuine bills of 3 the same denomination, which fact must be taken into consideration in deciding the character of the note to- gether with the lights and shades. There is also a perspective frequently represented in the drapery of the genuine which is more or less defective in all counterfeits. This perspective is most noticeable where folds are represented, or where one garment is engraved over other objects partly exposed. The various lights and shades found in the drapery of the genuine should be thoroughly studied, and the difference manifested by light and dark impressions care- fully noted, that any actual variation from the standard or genuine may be readily noticed. 3. PERSPECTIVE. The perspective is that part of art that enables the true and skillful artist to cause every object to sustain an apparent natural position with regard to the background. The genuine portraits and engravings seem to stand out in bold relief. There is no blending of the individual objects represented on the genuine with the background. This is a marked characteristic of the genuine work, and no allowance should be given for age in this regard, save by reason of actual apparent mutilation or abuse. 4. BACKGROUND. There are a great variety of backgrounds represented on genuine currency. i. The background behind portraits or vignettes con- sists in the genuine, of lines, dots and dashes so artistic- ally drawn or combined that the natural background desired is correctly represented. The usual background behind portraits consists ot a double set of straight lines accurately drawn, crossing so as to form checks, and giving to the background a gradual descent from a dark to a lighter shade. When this is the case, all imitations fail in one of four ways. (i). By descending too abruptly from dark to light. (2). By having only one set of lines where it is the lightest. (3). By approaching a total mass where it is the darkest. (4). By having irregularly drawn lines, varying in size, distance, or being broken. 2. Sky backgrounds are made to appear either as a clear sky or more or less cloudy, and in either case the scene is represented true to nature in the genuine, and always more or less defective in all counterfeits (other than photographs), they having irregularities that change or destroy the uniformity of the scene. 5. ORNAMENTAL WORK. The ornamental work about portraits along the border or on other parts of the genuine note, consisting of flowers, fruits, leaves, or any other embellishments what- ever, is so skillfully engraved by the various special artists, that it is almost impossible for them to produce an exact copy. The lights and shades form the marked characteristic of the ornamental work. The ornamental 32 work about portraits on the genuine has a tendency to fade away or grow indistinct with age much more than in the counterfeit, as is the case of the shading of the letters previously noticed. Other varieties of ornamental work are considered elsewhere. 6. SOLID PRINT. The solid print or imprint consists of the small, solid letters usually found in the margin of notes or in panels separated from other engravings. This lettering is done by special letter artists, who engrave them with absolute accuracy, and by means of the transfer process they are duplicated with absolute precision. Every detail is executed with such consummate skill that none but equally expert engravers can exactly copy. The perfec- tion of every section of these letters is mathematically accurate. Each letter is separate and perfect in and of itself. These letters are usually separated by hair-breadth spaces, and are identically the same in height, being always on a straight, uniform base line, and not in any way irregular. In counterfeits this work being usually done by an all-around engraver, more or less striking irregularities are often apparent. This irregularity is exhibited in one or more of the following ways : (i). Imperfectly formed letters. (2) Irregular spacing. (3). Being out of line. (4). By actually having some of the letters upside down. (5). By being omitted altogether. Some of these letters are so very minute that it is only by means of a good magnifying glass that they can be 33 clearly seen, but it is not often that a counterfeit is issued that so close an examination is necessary to detect its defects in some of the general principles ; in fact, no such note has ever come to our notice, and we have seen specimens of all dangerous counterfeits ever put into circulation on our three issues of currency. SECTION 9. DUPLICATED DESIGNS. By means of the transfer machine, exact duplicates of various designs are multiplied at will on any note. This is the only way ever yet discovered whereby exact dupli- cates of engraving can be produced. When you stop to think that you never have nor ever will write your signature twice precisely alike, you can readily conceive of the great security that is offered by this wonderful process. Wherever duplicated designs appear, they must be in every respect exact copies. This principle is employed in forming complicated lathe designs ; in causing the denomination to appear in many places, so as to make the process of altering the genuine of a lower to a higher denomination more difficult ; in making the margins consisting of various duplicated designs, and wherever duplicated designs appear. SECTION 10. GENERAL, APPEARANCE. What is the general appearance ? It is the ' ' first impression ' ' the note makes on the mind. This impres- sion will be accurate and satisfy the demands of reason or otherwise, just in proportion as the observer has mastered and applies all the elements of genuineness. 34 Many notes are rejected by money-handlers for the reason, as they say, "that they don't like their appear- ance." These rejected notes are believed to be bad, but if asked wherein they are bad, not one in twenty could tell wherein they differ from other notes on the same issue and series, or on the same bank which they pro- nounce genuine and accept. Now, in most instances of such judgments that have come to our notice, we have found them to be correct, while some were grievous errors, which demonstrates the truthfulness of the proposition, that no one can tell positively that one of two objects differs from the other, without at the same time knowing wherein they differ, but the reason why, as we have said, that the majority of these decisions are found to be correct, lies in the fact that money-handlers, by long experience in handling mostly genuine money, have unconsciously become somewhat familiar with the general appearance of good money, so without having made a careful analysis of, nor becoming familiar with the various safe-guards in an elementary and methodical way, prior to generalizing, they have secured this ability to generalize only ; as a person would learn to read by looking at and learning the words only, without first learning the primary elements of sounds as represented in the individual letters. Such a person might become rapid, but not such an accurate reader as he might have become by first learning the element, nor could he give a reason for pronouncing words spelled differently as though they were spelled alike. The general appearance is, how- 35 ever, the main point that one at the counter mostly employs. It is the united effect of all of the elements of genuineness. But while this is true, is it not better to understand why you decide ? L,et us give some of the reasons for the value of this the greatest of all securities. 1. When one has become, either by practical in- struction or by individual effort, aided by long experi- ence familiar with the general appearance of the genuine, no counterfeit can pass him without exciting suspicion. 2. After suspicion has been aroused, after one's atten- tion has been attracted to the suspicious appearance of a bill, the real danger of loss from imposition is past, for then, one will by examination become satisfied as to the character of the bill before accepting it. After suspicion has been excited, if the note is taken and lost, you have only yourself to blame for not being prudent enough to exercise reasonable care. ELEMENTS QUICKLY RECOGNIZED. We have seen that owing to the superior texture, genuine paper money is more durable, has usually a harder surface, and does not have such a tendency to break at right angles with the length of the note as the counterfeit. These qualities of the texture are seen instantty. We have seen that counterfeits are seldom, if ever, issued in a clean, white condition, and that the genuine notes with age change to a ' ' distinctive color ' ' that is more or less wanting in counterfeits. This very import- 36 ant element of the general appearance is also instantly recognized. We have also seen that owing to the poor texture ot paper used by counterfeiters and to the way they print their notes, that frequently there is a marked contrast between the genuine colors in the numbers, in the black engravings or other impressions, and in the " lights and shades" from those found on the genuine, which is also instantly recognized as "something wanting." The expressions of the portraits, the lights and shades in drapery, the perspective and the proper shading of the letters are taken in at the same sweeping glance across the note, and if the bill be not genuine, a "something wanting" will be the alarm that "the first impression " or "general appearance " will give. When this alarm has been given, suspicion being aroused, then the character of the note should be proven to a certainty by applying the principles herein explained, which unitedly will lead to an infallible decision. CAUTION. Do not take one idea or one principle alone as your guide. Never depend upon the examination of one sec- tion of the bill, but look it all over unless you know that your first impression is right. The Lathe Work should be examined in respect to all five of its elements, and unless the counter be from a genuine plate some or all of the five elements will be found defective. If the suspicious note be one that should be printed on 37 fibered paper, or on paper having some other ' 'distinctive texture," or on paper having a "distinctive color," these various characteristics of the note should be carefully noted. If the suspicious bill is thought to be an altered, raised, pieced or stolen note, it should be examined accordingly. Lastly, if a positive knowledge as regards the true character of the note has not been thusly se- cured, application should be made of the " Minor rules" or the "Special Points." MINOR PRINCIPLES OR RULES. 1 . Inks in printing Seals. 2. Inks in printing Dark Impressions. 3. Inks in printing Green Impressions. 4. Other different Colors of Inks employed. 5. Altered Notes. 1. By Acids. 2. By Erasure. 3. By Inks and Dyes. 4. By Splitting. 5. By Piecing. 6. Charter Numbers. 7. Character of Check Letters. 8. Type in printing Treasury and Bank Numbers. 9. Signatures. 10. Stolen National Currency Notes. 1 1 . Script Lettering. 12. Background of Treasury Numbers. 13. Feeling of Paper, CHAPTER IV. MINOR PRINCIPLES OR RULES. SECTION i. INKS IN SEALS. The Great Seal of the United States Treasury is placed on all issues of our paper currency as the finishing act of print- ing prior to putting them into circulation. These seals are of various designs, both as regards size and the ornamental characters engraved thereon. Some are accompanied with other artistic embellishments, and others are not. The seals are printed in a great variety of colors on different issues and series, and indeed on different speci- mens of the same series are frequently found different seals on account of the fact that the note bearing some previous variety of seal has been successfully counter- feited. On some notes there are other ornamental designs printed in the same color, or in colors differing from that used in the seal. The seals were intentionally engraved in such distinct characters, yet, at the same time, of such complicated design, absolutely perfect in every detail, that they alone form such a remarkable test of genuine- ness that many counterfeiters have utterly failed to re- produce, while on some specimens of the "queer" the seal has been very accurately imitated. The inks used in printing the seal is not of the same quality as that used in printing the numbers, and yet in each instance whatever color the seal is printed in is of the deepest dye. If red, it is a deep red ; if brown, a deep brown, not a faded, dead, dull color, as is frequently the case in counterfeits,. 40 In the genuine the seal often exhibits a tendency to grow uniformly indistinct, however, specimens are not wanting which show the tendency of genuine ink to intensify with age. In the examination of the seal every minute detail should be noticed, the slightest actual deviation from the standard condemns : (i). In the various characters represented. (2). In the relative position or prominence of such characters. (3). In reference to colors. The notes bearing the following seals have been most frequently and successfully counterfeited. 1. Small pointed seal used on the Greenbacks and first series of National Currency Notes. 2. The red scalloped seal on plate "A" $100 Green- back National Currency Notes known as the "Smith plate," and the brown scalloped seal $10 Brownback N. C. 3. The red pointed seal on $5 and $10 Treasury Notes, series of 1875. 3. Large red seal on $50 and $500 Treasury Notes, series of 1869. (4). Small, pointless seal, or large, brown seal on $i, $2 and $5 Silver Certificates, series of 1886. In examination of the pointed seal, the points should be accurately defined unless the seal is uniformly indistinct. On the $500 Treasury Note, series of 1869, the shield in the seal is entirely too prominent, while in many other counterfeits the seal is off color or has more of a painty appearance, as in the $50 Treasury Note, series of 1869, in which the seal is of a faded brick color, instead of a bright cherry red. SECTION 2. INKS IN DARK IMPRESSIONS. The black ink used in printing dark engravings is of a deep, intense, coal-black, glossy color, and where printed in "solid black", never fades or grows indistinct with age, as is frequently the case with counterfeits. Dark engravings not a "solid body," however, have a remarkable tendency to fade away or grow indistinct with age on the genuine, and this tendency seems to be directly in proportion to the amount of ink used at the beginning. This tendency is best illustrated in the principle of the shading of the letters and in the ornamental work around portraits where the genuine grow indistinct in a marked degree, while in most counterfeits such engravings have a tendency to hold their own, and by comparison actually seem to grow darker. This remarkabe fact is to a great degree owing to the fact of the genuine paper being perfectly white, when new, and changing to a yellow ecru or buff color when old. This change of the color of the background causes such delicate engrav- ings to appear faded or to grow indistinct. The counterfeit does not usually so change with age, for the reason that they are generally "doctored," or abused, which destroys the effect of the sunlight, which is the actual cause of all white paper changing with age to this "distinctive color." It is frequently the case that in printing the vignettes on the back of the National Currency notes so much black ink is absorbed into the poor paper of the counterfeit as to disregard the lights and shades. This 42 always condemns. This quality of the counterfeit paper to more readily absorb ink like blotting paper, than the paper used in printing genuine notes, that many danger- ous imitations are readily detected thereby. Wherever you can find lines crossing and drawn near each other so as to form regular, yet minute checks ; as the background below the chairs on back of $ico Greenback National Currency notes, also in the lights and shades in drapery or other artistic engraving ; you will find a good opportunity to test this quality of the black ink to appear in too great a quantity, and thus to destroy the lights and shades. , SECTION 3. INKS IN PRINTING GREEN ENGRAVINGS. The green inks employed in printing genuine currenc}- are of various shades, owing in part to the deepness of the impression or the variable manner in which the plates are wiped. The different shades of green were more numerous on the Greenback issue, where we have seen twenty $10 bills put side by side, no two of which had identically the same shade of green in the lathe counter on face of note. Yet the genuine green even on this issue has a distinctive, bright and lively appearance that was not perfectly represented in an}- counterfeit. The counterfeit being either of a too yellow green, dead, lifeless color, or too dark a hue. On the Treasury notes the green is a much more uni- form, deep blue-green color, and this is especially true on those National Currency notes having green backs. On these National Currency notes the green in the lathe 43 counters, and that in the margin of backs should be the same shade, with reasonable allowance for the deep impressions, in other words, there should not be a marked contrast between the shades of the green in printing the lathe counter and the margin. The counter- feiters have frequently failed in having a pea or grass- green, and by having the lathe counters much deeper shade than the margin. The color of the green on the genuine intensifies or grows darker with age, yet is usually of a more lively, pleasing appearance than on the counterfeits. The green ink, however, has been so nearly imitated that it requires an expert judge of colors to positively identify all genuine notes and detect all counterfeits by the green ink alone, and in my opinion the expert must unconsciously take into consideration somewhat of the general appearance in giving his accurate decision. SECTION 4. OTHER DIFFERENT COLORS OF INKS EMPLOYED. On the National Gold Banks of California, the notes were printed on a distinctive colored paper, suggestive of gold coin, and on the backs a color of ink was used also, similar to or suggesting the color of gold coin having abundance of copper alloy. In the space on back of these notes, occupied by the vignettes on the Greenback series of other National Currency notes, is also a fine engraving representing the various United States gold coins printed in this distinctive color of ink. On the backs of Gold Certificates, a much lighter and different distinctive color is used from that on the 44 National Gold Banks of California, but also suggesting the fact of their representing gold. On the series of 1882 of the National Currency, a deep, brown ink was employed, taking the place of the older series of this issue that were printed in green ink, and that had been so frequently and so successfully counter- feited that plates of the Brown-back series were engraved for all National Banks coming into existence after that date. On this series the vignettes found on the backs of the Greenback series were omitted, and on the $5 notes, the former vignettes on face of note were also omitted, and a fine portrait of James A. Garfield used instead. Taking the place of tht vignettes on back of the former series of the National Currency notes, is a double wreath of Cycloydal engine work, the outer one being printed in brown ink, while the inner one is printed in a distinctive blue color, upon which is engraved the charter number of the bank. None of these notes printed in these distinctive colors have ever been successfully coun- terfeited and not at all, except on the Brownback National Currency: (i). On $5 by the photographic process. (2). On $10 on the Third National Bank of Cincinnati, O., and on the Germania National Bank of New Orleans, La. There seems to be a doubt entertained by some honest folk as to the wisdom of the policy of the government in using so great a variety of colors and having so many differ- ent designs in the various issues and series of our circulat- ing medium ; but the reason for doing ?o has not been for the mere purpose of making a vast variety of different 45 designs, but as an effort to furnish additional security by making it more difficult for the counterfeiter, and thus exhibits the great care taken by the Treasury officials in their endeavor to suppress the circulation of counterfeit money. At the same time this condition greatly increases the care and the amount of study necessary on the part of money-handlers to become expert judges, and also emphasizes the necessity of such a work as this to aid them in so doing. SECTION 5. ALTERED NOTES. Among the various methods the counterfeiters employ to obtain money without honest effort is by several pro- cesses of changing genuine paper currency from a lower to a higher denomination. This is done in several ways, namely : (i). By use of Acids. (2). By Erasure. (3). By Inks and Dyes. (4). By Splitting. (5). By Piecing. I. BY ACIDS. Acids are used to remove impressions wherever desired, and then the amount that better suits the counterfeiter's fancy is. printed into the places thus prepared. 2. BY ERASURE. The counterfeiter sometimes erases the genuine im- pression by removing a thin layer of the paper and then pastes into the place thus prepared the fraudulent amount. 3. BY INKS OR DYES. By means of the use of inks or dyes the proper designs denoting the lawful amount are covered up with pen or 4 6 brush, and the fradulent amount is made to appear in the most conspicuous places. 4. BY SPLITTING. Another process of altering the denomination of genuine money is by splitting the genuine paper, thus removing a section denoting a lower denomination and inserting a section removed from a higher denomination into the exact .place from whence the removal has been made. By this method we have seen a$io Treasury Note, series of 1869, so successfully raised to $100 that it was received by a cashier in a bank who prided himself on being an excellent judge of money. 5. BY PIECING. The process of piecing bills is done by cutting several genuine notes of the same denomination and issue, in such a way that a portion of each is removed, and then by piecing these removed sections together an entire note is secured. This work is so neatly done, the edges of the various pieces so nicely joined that they are liable to be passed on good judges of money, for to all appearance they are genuine, with the slight variation in size. The only means of protecting a person from loss in accepting these raised or altered notes are : 1. By becoming perfectly familiar with the various designs on the genuine notes so as to immediately recog- nize any change. 2. By holding the suspicious note up to the light so that one can look through it, when, if any alteration has been made, it will be apparent. 47 3. By careful examination to ascertain whether any of the duplicated designs denoting the denomination usually found in the margin of notes have been covered up or defaced. These processes have not been so successful with our present circulating medium, on account of the different designs on the various denominations, as they were during the existence of the Old State Banks of issue long since extinct. However, among the most successful of this class of fraudulent notes ever put into circulation on our present currency, the following should be mentioned : $i Greenback raised to $5. $2 Greenback raised to $50. $5 Greenback National Currency Note, having scal- loped seal, raised to $20. $2 Silver Certificate raised to $10. $10 Treasury Notes, series 1869, raised to $100. SECTION 6. CHARTER NUMBERS. When the National Currency was first issued they bore no charter numbers. The charter number was first printed on the Greenback National Currency Notes in small black figures. Then the Charter number was printed in large, dark, deep red figures, this being con- tinued on the series of 1875, after the pointed seal had been discarded and the red scalloped seal adopted. Lastly, on the Brownback National Currency Notes, the charter numbers were printed in large, deep brown figures, and also used as duplicated designs in margin of note, and also represented on central cycloidal wreath 4 8 on back of note. Whenever the charter number differs from the correct one, as is sometimes the case in counter- feit bills, of course this certainly condemns, as on the First National Bank of Tamaqua, Pa., where the genuine should be 1219, if represented. SECTION 6. TYPE IN NUMBERS. The serial numbers on Greenbacks are all printed in Round or Roman type of various sizes, yet of a distinctive shape that is frequently wanting in many counterfeits. On this issueSquare or Block type in the numbering posi- tively condemns. The National Currency Notes having pointed seal have their Bank numbers always printed in Round type, while their Treasury numbers are always printed in Square or Block type. All Greenback National Currency Notes that bear a red scalloped seal have both Treasury and Bank numbers printed in Block type ; they also had ' ' series of 1875" printed across the face of the note, near the charter number, in small red figures, and were printed on fibered paper. Therefore, whenever you find such a note having Block type only and not at the same time having the " Scalloped Sea/," " Series of 1875," and the "Jute or Silk Fiber in the paper," you may know such a bill is positively bad. The Brownback National Currency Notes and the Treasury Notes were printed only in Block type ; how- ever, the Gold Certificates are printed with a unique ornamental Block type. 49 Block type, in both places, invariably calls for the fibered paper. SECTION 7. CHARACTER OR CHECK LETTERS. All genuine notes are printed in sheets consisting of four bills. In printing United States notes, each sheet consists of bills of the same denomination, but bearing different check or character letters, namely: "A," "'B," "C" and "D" ; while the sheets printed for National Banks may or may not consist of notes of the same denomi- nation, and bear one of the first eight letters of the alpha- bet as their check letter. Each counterfeit is originally made only on one check letter, but sometimes it is changed so as to purport to be on some other bank or check letter. All United States Notes being thus printed and being numbered consecu- tively, it followed unintentionally that should the last three figures of the Treasury number be divided by four, if there is no remainder, "D" will be the character letter ; if one remains, "A"; if two, "B"; and if three, "C" will be the check letter. This is given by those having no general knowledge as a test of genuineness, whereas, many counterfeiters have by accident or design numbered their bills in accordance with this so-called infallible (?) rule, and therefore, it should never be depended on unless it condemns. The check or character letter, however, is very useful in the description of the genuine plate on which a counterfeit has been issued, so as to denote the particular plate in reference to the application of "Special Points," whenever said particular counterfeit 50 plate has been captured, so that these special defects cannot be remedied. SECTION 8. SIGNATURES. The signatures found on nearly all of the Greenbacks and the Treasury notes, were engraved, and are therefore printed when the dark inpression is taken. On a few of the Fractional Currency notes known as the "Autograph Series," the signatures of F. E. Spinner and S. B. Colby were written ; also on some of the Demand notes there were written signatures, but even though the counter- feiter can make excellent copies of printed signatures that more often will deceive than will be detected as regards the form of their letters, yet in many of their issues they fail in not making as good prints as the genuine, partly owing to their inferior paper. But it may be frankly admitted that whenever signatures are printed on the genuine, they are frequently so nicely copied that when they do fail, the failure is more of the nature of a "Special Point" than a general principle. On the National Currency notes, in addition to the engraved signatures of the Register and the Treasurer of the United States Treasury, the signatures of the Presi- dent and Cashier of the various banks are written thereon before the bills are put into circulation. How- ever, on some of the larger banks, these signatures of the bank officers were lithographed, until a special ruling of the Treasury Department caused that practice to cease. Of course, wherever the signatures of the bank officers on any particular bill are known, then the fraudulent signature may be detected. On many counterfeits on country banks, the signatures are lithographed, and when this is the case, of course it condemns, as the signatures of the bank officers on all excepting the banks having the lowest issue were invariably written. SECTION 9. STOLEN NATIONAL CURRENCY NOTES. Several National Banks have been so unfortunate or careless as to have had some of their notes stolen and put into circulation before the signatures of the bank officers were signed thereto. These notes are rejected by the United States Treasury when presented for redemption, and are returned with usually a large "S" branded thereon. This has been done owing to the fact that these notes are not considered complete promissory notes of the various banks. This would seem a questionable policy, for the following reasons : 1. When the government has printed the bills and delivered them to the Express Company to be forwarded to the bank, its duty has been fulfilled. 2. If the Express Co lost them in transit, would they not be held responsible therefor ? 3. When the Express Company has delivered them to the bank, its duty has been fulfilled. 4. Now, if by accident, carelessness or misfortune, these notes get into circulation, who should sustain the loss ? The bank that has been thus negligent, or unfor- tunate, or the innocent person who by this neglect or misfortune is imposed. 52 5. It is not the names of the officers of the various banks that give to their notes universal confidence, but rather the signatures of the Register and Treasurer of the United States Treasury, whose signatures bear wit- ness to the fact that "This note is secured by bonds of the United States deposited with the United States Treas- urer at Washington". However, until this matter is finally settled, no one is safe to accept any of the follow- ing notes, although genuine save the signature. $5- Osage National Bank of Iowa, Treasury Nos. 560,959 to 561,408. First National Bank, Milwaukee, Wis., Treasury Nos. 860,121 to 860,170. The First National Bank of Pontiac, 111., Treasury Nos. 252,111 to 252,135, series of 1875. $10 AND $20. Merchants National Bank of Albany, N. Y., Treasury Nos. 45,195 to 45,202, series of 1875. First National Bank of Atchison, Kansas, Treasury Nos. 679,929 to 679,942. The National Bank of Barre, Vt., Treasury Nos. 932,805 to 932,830. National Hide & Leather Bank, Boston, Mass., Treas- ury Nos. 22,900 to 22,953. Third National Bank of New York, Treasury Nos, 644,416 to 644,430. 53 $5 AND $IOO. First National Bank of Jersey City, N. J., Treasury Nos. 19,609 to 19,688. National City Bank of Lynn, Mass., Treasury Nos. 66,796 to 66,825. SECTION 10. SCRIPT LETTERING. The Script Lettering found on genuine currency is done by special script letter artists, and is of such a graceful, uniform character that it is often very poorly copied in counterfeits. Here one must look for and exact perfection in every respect. 1 . In the execution of each letter. 2. In the shade, slant, angle, spacings and size of the stroke. These same artists also make the various ornamental scrolls or nourishes often found on genuine notes. These srcolls have a fixed position on the plate, and any variation or omission condemns. SECTION 1 1 . BACKGROUNDS TO NUMBERS. The background behind the Treasury numbers is frequently not white paper merely, but composed of various ornamental designs, varying from simply parallel, straight or waved lines so gracefully terminating in dots or dashes that their edges gradually disappear, to exceed- ingly complicated, ornamental designs. In the counter- feits yet issued these backgrounds have been more or less defective, similar to the shading of the letters, having 54 broken, irregular lines, and not so gracefully terminating along the outer edges, sometimes ending abruptly, as in $ i , $2 , $5 and $20 Silver Certificates. The cycloidal back- grounds to the numbers found on some of the Treasury Notes are of various designs and are often surrounded by ornamental embellishments printed in "a distinctive color. ' ' 12. FEELING OF PAPER. There is a wide difference of opinion among those who are most competent to judge as regards the feeling of the paper as a test of genuineness. It would seem reasonable on first thought that genuine paper differing so widely in its texture from that usually employed by the counter- feiter, that the feeling should be a very prominent charac- teristic of the genuine, and eminently worthy of con- fidence, but upon more thought and experience, with a better knowledge of the variety of feeling exhibited in different specimens of genuine notes, owing to the various uses or abuses they have been subjected to, we are of the opinion that at the very best the feeling should only be used to excite suspicion, and should not be relied upon as giving a correct knowledge as to the charac- ter of any suspicious note. Therefore we cannot advise otherwise. CHAPTER V. Description of the Artistic Engravings on all Genuine Notes. PORTRAITS AND VIGNETTES. Few persons among those most familiar with our paper currency or those who have had the most experience, could tell off-hand the several portraits found on our various issues ; and fewer of these even could describe the various vignettes found on the several denominations of our circulating medium. Not one in a hundred of the best informed have a perfect conception of the ideas intended to be conveyed by the portraits and vignettes, outside and independent of the elements of security this part of engraving is intended to offer. While this is true as regards {hose having the greatest experience, what can be the value of the information in the possession of the teller who has had but little experience, saying nothing about the ordinary business man, as regards this wonderfully interesting, instructive and fascinating subject. To the end that the various designs may be- come generally known by all handlers of money, a con- densed statement is hereby given. The government has not only provided and put into circulation the best form of paper money ever issued, covered, as we have seen, with many safeguards which unitedly form infallible tests as to the true character of every note, and of such a stable character that no man 56 has necessarily lost one dollar on account of depreciation in value, but has also in the production of the various unique designs represented, shown the greatest care in producing beautiful and artistic issues, exhibiting in a marked degree the highest grade of taste in selecting the artistic designs represented so as to convey ennobling ideas, viz. : 1. Emulation of characters of eminent persons who by acts of wisdom, bravery, or patriotism have endeared their names to the hearts of all Americans. 2. Inculcating ideas of patriotism, loyalty and love for our country. 3. Commemorative of historical events in connec- tion with the birth, growth and maintenance of our national life. 4. Commemorative of geographical discoveries. 5. Commemorative of scientific discoveries. 6. To induce the study and patronage of Art. 7. To cultivate an elevated standard of aesthetic taste as regards feligion, virtue and true manhood. The following portraits and vignettes are found on the face of the respective Greenbacks : SECTION i. COMPOUND INTEREST NOTES. $10 Salmon P. Chase. $20 On right end portrait of Lincoln, and on left end vignette of Goddess. $50 Alexander Hamilton on lower right end, $100 Full length vignette of General Washington in upper central section. 57 $500 On left end a Standard Bearer, and in lower right hand corner picture of war ship ' ' Iron- side." $1,000 On left end a vignette of a female with scales, representing Justice. On right end a female figure with shield and eagle, representing Loyalty. SECTION 2. GREENBACKS PROPER. $i Salmon P. Chase. $2 Alexander Hamilton. $5 On lower right hand end portrait of Alt xander Hamilton. Full length female figure on left hand, representing America. $10 Abraham Lincoln on left end. Small, spread eagle in central upper face ; full length female stand- ing on right end of note, representing Art. $20 A full length female figure in central portion of note, representing America. $50 Alexander Hamilton. $100 Large spread eagle. $500 Albert Galatin. $1,000 Robert Morris. SECTION 3. PORTRAITS AND VIGNETTES ON TREASURY NOTES PROPER, SERIES 1869 TO 1880. $i George Washington, on all series. On upper left end of note is a vignette repre- senting Christopher Columbus standing on the quarter-deck of his ship, Curavel, signifying the discovery of the new world. 58 $2 Thomas Jefferson on left end, on all series. In central portion of the note is a vignette repre- senting the United States Capitol. $5 Andrew Jackson on lower left end, on all series. A vignette representing a pioneer with family in center of note. $10 Daniel Webster on lower left end, on all series. On right end is a vignette representing Chris- topher Columbus introducing "America," sym- bolized by an Indian female, to the ' 'Old World, ' ' represented by a group dressed in oriental costume. $20 Alexander Hamilton on left end, on all series. On the right end is a vignette of a female figure holding in her left hand a staff, and with her right hand she holds a shield as though in the act of warding off danger, representing Protection of American Liberty. $50 Henry Clay on lower right end series of 1869. On left end is a female figure wearing a wreath of laurel ; in her left hand she holds a statue of Mercury, while in her right she holds an olive branch, representing "Peace." $50 Benjamin Franklin on lower left end series other than 1869. On right end is an ideal portrait of a female wearing a crown of stars, representing the American Republic. $100 Abraham Lincoln on left end, on all series 59 On right end of face is a vignette representing Architecture. $500 John Q. Adams on lower right end series 1869. On left end stands a female figure holding the scales accurately poised, representing "Justice." $500 General Mansfield series other than 1869. $1,000 DeWitt Clinton, on central portion of note, on all series. On left end of face is a vignette representing Columbus surrounded by charts, globes, etc., studying about the yet undiscovered new world. SECTION 4. PORTRAITS ON SILVER CERTIFICATES. $i Martha Washington, series 1886. $2 General W. S. Hancock, " $2 Secretary Windom. (Not yet issued.) $5 General U. S. Grant, series 1886. $10 Robert Morris, " 1880. $10 Vice-President Hendricks, " 1886. $20 General Steven Decatur, " 1880. $20 Daniel Manning, " 1886. $50 Edward Everett, " 1880. $100 James Monroe, $500 Charles Sumner, $1,000 Wm. L,. Marcy, SECTION 5. PORTRAITS ON GOLD CERTIFICATES. $20 James A. Garfield. $50 Silas Wright. $100 Thomas Benton. $500 Abraham Lincoln. 6o $1,000 Alexander Hamilton. $5,000 President Monroe. $10,000 Andrew Jackson. SECTION 6. PORTRAITS ON COIN NOTES. $i Secretary Stanton. $2 General McPherson. $5 General Thomas. $10 General Sheridan. $20 Chief Justice Marshall. $50 Edwin D. Baker. (Not yet issued.) $100 Commodore Farragut. $500 Secretary Seward. (Not yet issued.) $1,000 General Meade. SECTION 7. PORTRAITS AND VIGNETTES ON NATIONAL CURRENCY. On the Greenback National Currency notes there are vignettes both on face and back of each note, while on the series known as Brown-backs the vignettes on back have been omitted, and on the $5 of this series, the vig- nettes on face have also been omitted, and a portrait of James A. Garfield employed instead. $i. On the face of note is a vignette of two female figures, representing the North and South. The lady representing the North is grasping with her right hand the right hand of the lady representing the South, while her left hand is pointing toward heaven, calling on God to witness the re-union that He aided in securing. The South bears an olive branch in her left hand and has one foot resting on the platform upon which stands an altar 6i with a blazing fire on top, representing the Altar of our common country, upon which the fire of patriotism will consume all remembrances of the past unpleasantness. On the back is a vignette representing the landing of the Pilgrims. $2. On the left end of face is represented a female seated on the bow of a war ship, holding the American flag, representing the Genius of our Navy ; to the right in the background is a ship under full sail, representing our commerce, and to the left, a city is seen in the distance, both of which it is the duty of our Navy to protect. Above all are thirteen stars appearing quite distinctly, while other stars are almost visible. On the back is a vignette representing Sir Walter Raleigh introducing the use of tobacco to the nobility of England, and a servant entering the room carrying a salver on which is a pitcher of wine, is so frightened by seeing smoke issuing from Sir Walter's mouth that he tips over the pitcher. $5. On left end of face is a vignette representing Christopher Columbus discovering America. He is standing in the bow of his boat pointing out the land he has discovered to some of the crew, while a priest with crucifix in hand, kneeling on one knee, is offering supplication for the kindness of Providence thus vouch- safed. On the right end of face is a vignette representing a Spaniard introducing a female Indian, representing America, to three female figures, representing Europe, Asia and Africa. On the back is a vignette representing the landing of Columbus, holding the Spanish flag in his 62 left hand, while in his right he holds a sword, in the act of taking possession of " New Spain " in the name of his sovereigns, Queen Isabella and King Ferdinand. $10. On the left end of face is a vignette representing Benjamin Franklin in his successful effort of proving that lightning was electricity ; a bolt of lightning is seen striking the kite away up among the clouds. On the right end of face is represented a female seated upon an eagle flying through the sky, while she has caught hold of a bolt of lightning with her hand, signifying the Genius of America in scientific discoveries. On back of note is a vignette representing De Soto dis- covering the Mississippi river. De Soto is represented on horseback followed by his soldiery, while others are raising a cross upon which is a crucifix. In the back- ground is represented an Indian village, and the half- clad savages are over-powered with fright and astonish- ment. $20. On left hand of face is a vignette representing the battle of Lexington. One soldier is firing, taking excellent aim while so doing ; another is looking to see where he can do the best execution before raising his already loaded gun ; and still another soldier is in the background ramming the charge into his gun ; while in front is a female figure bending over and adminis- tering care to a fallen soldier lying prostrate. On the right end is a vignette with a female figure representing ' 'America ' ' unfurling the stars and stripes, while she is at the same time exhorting her countrymen to defend and protect it. 63 On back of note is a vignette representing the baptism of Pocahontas kneeling at the altar in a church, while a priest is standing with one hand extended over her head, in the solemn act of the baptismal service. In the audience there are many witnesses to the ceremony both white people and Indians. $50. On left end of face is a vignette representing George Washington crossing the Delaware. He is stand- ing in a boat that is being worked with oars, while in the distant background may be seen other soldiers follow- ing him. On right end of face is a vignette representing a soldier of the Revolution kneeling in prayer at Valley Forge, and as he prays, he has a vision in which he sees three female figures in the heavens representing Justice, Liberty, and Victory, over which is a flag of stars and stripes on which is seen the word ' ' Victory. ' ' On back of note is a vignette representing the embarka- tion of the Pilgrims. An elderly gentleman is holding an open bible on his lap that has just been read, while a priest is kneeling in the act of prayer, surrounded by the passengers on board the May Flower, July 22, 1620. $100. On left end efface is a vignette representing the Battle of Lake Erie, September 10, 1813. Commo- dore Perry leaving his disabled flag ship Lawrence to join the war ship Niagara standing off at a distance, is standing up in a lifeboat, and as the oars are taking water, while watching the enemy he gave the brave crew left on board the memorable order "Don't give up the ship." On the right end of face is a vignette represent- ing the Goddess of Liberty, in the form of a female, sym- 6 4 bolizing America, who wears a coronet with the word " Liberty " engraved thereon. She is standing with up- turned face, her left hand extending over a bundle of sticks, representing the "Union," in the act of asking the blessing of Heaven thereon to " Maintain it." On back of note is a vignette representing the signing of the Declaration of Independence, at Philadelphia, July 4, 1776. $500. On the left end of face is a vignette representing the Genius of our American Navy. A female figure crowned with stars seated upon a cannon is in the fore- ground, while in the background can be seen a ship and camp. In the heavens there is a bow of promise, and an American Eagle is soaring in the sky. On right end of face is a vignette representing the steamship Sierus arriving in New York harbor in 1838. On back of note is a vignette representing the Surren- der of General Burgoyne at Saratoga, New York, October T 7> I 777- General Burgoyne is in the act of delivering his sword to General Washington in the presence of the representatives of both armies. $1,000. On the left end efface is a vignette represent- ing the triumphant entry of General Scott at the head of our forces into the City of Mexico. On therigitend of face is an engraving of the building of our National Cap- itol. On back of note is a vignette representing General Washington resigning his commission at Annapolis, Md., 1783- CHAPTER VI. Questions and Answers in Reference to Oral Instruction. i. OUR VARIOUS ISSUES. Q. How many issues of paper money have we ? A. Three, namely, Gieenbacks, National Currency Notes and Treasury Notes. Q. Of what do the Greenbacks consist ? A. All United States Notes issued prior to the year 1869, including Greenbacks proper, Demand Notes, Com- pound Interest Notes and Fractional Currency. Q. Of what does the National Currency consist ? A. All notes issued by National Banks, including the Greenback National Currency Notes, the Brownback National Currency Notes and the National Gold Bank Notes of California. Q. Of what do the Treasury Notes consist ? A. All notes issued by the United States since and including the series of 1869, namely, Treasury Notes proper, Gold Certificates, Silver Certificates and Coin Notes. 2. TEXTURE. Q. Owing to the manufacture of our genuine paper, what ought a genuine note not to have a tendency to do? A. To be brittle or to break at right angles with the 66 length of the note, unless folded for a long time or heavily creased. 3. FIBER. Q. What is found in the texture of the Treasury notes and National Currency notes having scalloped seal? A. Silk-fiber or Jute fiber. Q. Of what colors are these fibers ? A. Blue and red. Q. When the Jute-fibered paper was employed, which color predominated ? A. The blue apparently a thousand to one. Q. How does the silk in the paper appear ? A. As one or two blue or red silk cords running parallel and lengthwise across the note, with occasionally some fragments of silk-fibre scattered promiscuously through the bill. Q. What notes are printed on the Jute-fibered paper ? A. A few of the Fractional Currency notes ; a few of the pointed seal Greenback National Currency notes ; all scalloped seal National Currency notes that were printed prior to 1882, and all Treasury notes that were printed prior to the year 1880. Q. What notes were printed on the Silk-fibered paper ? A. All Treasury notes printed since and including the series of 1880. All Brownback National Currency notes and all Greenback National Currency notes having a "scalloped seal" and "series of 1875" printed and issued since 1882. 6 7 Q. How has the Jute-fibre been imitated ? A. By printed marks on the outside of paper, or by something resembling Jute-fiber placed within the paper on the $500 Treasury note, series of 1869, and on the $100 Greenback National Currency note, Smith plate. Q. How has the Silk-fiber been imitated ? A. By having the paper heavily creased ; by dimly printed lines ; by deeply printed lines, and on the Japanese counterfeit $2 Silver Certificate, Department Series 1886, General Hancock's portrait, by having something placed within the paper that greatly resembles the silk cord. 3. COLOR OF PAPER. Q. What color are all genuine notes when new ? A. Pure white, excepting where printed on distinctive colored paper, as were the National Gold Bank notes of California. Q. What color do genuine notes change to with age ? A. To a yellow, buff, ecru, or "distinctive color." Q. When genuine bills are mutilated or defaced, how are they usually soiled ? A. In spots not uniformally. Q. What is the usual appearance of counterfeit paper money ? A. Of a uniform grey, coffee, nicotine or tan-bark juice color. Q. What tint of green on the backs of the National Currency notes condemns ? A. A grass or pea green ; or when the green in the 68 lathe counter differs from the green in the margin in a marked degree. Q. What an amount of black ink in the vignettes on the back of National Currency notes condemns ? A. Such an amount as would disregard the lights and shades. 4. SHADING OF LETTERS. Q. Of what does the shading of the letters consist ? Of very fine, evenly drawn lines and spaces, being parallel, equally distant, the same in size and uniform throughout. Q. What influence has age upon the shading of letters on genuine paper money ? A. It has a tendency to fade away or become indis- tinct with age, whereas in most counterfeits it has a tendency to hold its own. Q. Around or about what words should you look for the shading ? A. Wherever found, but principally around the most prominent words on the bill, excepting on $10 Greenback National Currency notes having pointed seal, in New York State, in which the shading under the words "National Currency" should be examined, and on $5 in Massachusetts, "White plate," the shading should be examined beneath the words "Five Dollars." 5. IvATHE WORK. Q. Where should you look for the lathe work ? A. Wherever found, but principally around the denominational counters. 6 9 Q. Of what does the lathe work consist ? A. Of a series of endless curved lines of the same size, which leave a series of regular indentations along the outer border, and a series of similar spaces between similar lines, precisely the same in size, having a marked perspective, and whenever secondary lines appear they must appear as such, not as primary lines. Q. What allowance should be given for age in the examination of the lathe work ? A. When printed on a black background, not any ; when printed upon a green background, the greatest amount of allowance on account of the fact that the green in the genuine seems to "flow or blur" with age, while in the counterfeit it has a tendency to hold its own. 6. ARTISTIC ENGRAVING. Q. Of what does the artistic engraving consist ? A. Portraits, drapery, perspective, background, orna- mental work and solid print. Q. How should the genuine invariably appear ? A. The portraits must look life-like, the lights and shades in the drapery must be preserved, the perspec- tive must be marked, the background usually consisting of lines crossing so as to form checks, and descending gradually from a dark to light. The ornamental work around portraits has a tendency to fade away on the genuine, and the solid print must be perfect. 7. DUPLICATED DESIGNS. Q. How should duplicated designs always appear. yo A. As fac-similes, being precisely the same. 8. INKS IN TREASURY AND BANK NUMBERS. Q. How many colors are employed in the numbering of notes ? A. Three red, blue and brown. The red is found upon all three issues, the lightest shade being upon the Greenbacks ; a shade deeper on the National Currency notes, and the deepest of all on the Treasury notes. Q. What influence should age have on genuine numbers ? A. It should intensify them ; and they should never fade, scale or peel off, as they usually do in counterfeits. Q. What other distinctive quality have the genuine numbers ? A. Of having the appearance of being below the sur- face, or imbedded within the texture of the paper. Q. On what issues was the blue used ? A. On the pointed seal, Greenback national Currency notes, the blue appeared sometimes in the treasury num- ber, in which case it is not reliable as regards the color. The blue is used in both numbers on the Treasury notss, and on the $5 Brown-back National Currency note. In some of the Treasury notes the blue has been nicely imitated, particularly on the $i, $2 and $5 of Silver Certificates. Yet on the $50 Treasury note of the series of 1869, the Blue ink in the genuine is of a deep, indigo color, while it is bluish black in the counterfeit. Q. What notes are. numbered in brown ? A. Only the Gold Certificates. g. TYPE IN NUMBERS. Q. What kind of type are the numbers printed in ? A. The Greenbacks were printed in round type only, the National Currency notes with pointed seal have the Treasury number in block type, and the bank number in round type. All Treasury notes and all National Currency notes having scalloped seal have block type only. Q. When block type is found in both numbers on the Greenback National Currency notes, what must also appear ? A. The "scalloped seal," "series 1875," near the charter number, and the "jute or silk fiber." 10. SIGNATURES. Q. When do the signatures condemn ? A. When they can be recognized as forged, or when lithographed signatures are found upon country banks. ii. CHARTER NUMBER. Q. What should the charter number be on the First National Bank of Tamaqua, Pa.? A. 1,219. CHAPTER VII. SPECIAL POINTS. Special points are characteristics of the genuine wherein particular and dangerous counterfeits are defective, and should be published or relied on only when the counterfeit plate has been captured. 72 The following are the genuine Greenbacks that have been successfully counterfeited, and the special points that lead to their detection. All wood-cuts and photo- graphs are intentionally omitted. $5. On "A" and "D." The portrait of America is very defective in every feature of the face ; the wreath of diamond spaces in lathe work are omitted or very poorly copied ; and the shading of the letters either too dark or scratchy. $10. On "B," "C" and "D" Lincoln's portrait defective in expression ; there are five divisions in eagle's wing in the genuine, only two in the counterfeit ; in lathe work the secondary lines appearing as ellipses ; in counterfeit appearing as heavy lines and are irregular. On Plate "D" there is the most dangerous counterfeit. On the genuine there must be 3^ green dots separated by light spaces by the 'side of the "i" in the figures "10" in lathe work. In the counterfeit there are but three green dots, and no light spaces separating them ; the perspective between the right wing and neck of eagle is also very defective, and the stars on the shield very poorly imitated. $20. On ''A," "B" and "C". There are two regular rows of green dashes surrounded by light borders, one at the top and the other at the base of the green "20" in upper central portion of note, and the "20" is composed of regular waved light and green lines, and the shield is properly shaded ; in the counterfeits these green dots and dashes are either omitted or the light around them does not appaar, the waved lines are not represented, and the 73 bars in the shield are not distinct and well shaded. The best counterfeits are on "series 24" and have block type in number. $50. On "A," " B," "C" and "D." In lathe work there appear regular period and crescent-shaped spaces. On Alexander Hamilton's vest there appear five buttons with dark centers and light borders, and from under the lapel there appears one-half of a button. In the counterfeit the spaces in lathe work are indistinct and irregular. The buttons do not have the light borders, and the fifth button and the half button under the lapel do not appear. There is a flower in the center of the word Washington which is omitted. In the genuine this flower appears as a blur or dark halo above and below " ing." $100. On "A," " B " and " C." There must be two light quills in the eagle's tail, and on back of note the " I's" in the " loo's " must be toward the center. In the counterfeit there is but one quill, and the " oo's" in the " zoo's " are towards the center. $1,000. On "A," "B," "C" and (< D." The letters in " payable at the Treasury of the U. S.," which are in panel in lower central portion of note, are separated by hair-breadth spaces in the genuine, and on the back of the note, in the green circle lathe work upon which appears "United States of America," there are four secondary lines in the genuine ; in the counterfeit the aforesaid spacing is irregular and the secondary lines omitted. Robert Morris' portrait is defective in the flesh test and 74 lights and shades, but as these notes are practically withdrawn, they should be received only for collection. SECTION 2. NATIONAL CURRENCY. All Greenback National Currency Notes having pointed seal (excepting the $i's, $500*5 and $ 1,000' s) andthe$ioo having a scalloped seal, and the $10 Brownback National Currency Note have been successfully counterfeited. $2. In N. Y., Pa. and R. I. on "A." The points of the seal, the stars above portrait and the genius of our Navy's portrait are very perfect in the genuine ; very defective in the counterfeits. $5. In 111., on "A." The tree in upper right-hand portion of face is delicate when new and fades away with age ; in the counterfeit it is very prominent, having cone-shaped branches. In margin of face of note the duplicated flowers are connected, not in broken sections, as in the counterfeit. On back, the green line that sepa- rates the vignette from the green ends of the note, if ex- tended would hit the " 5 " at right end in lower margin ; in the counterfeit it would not. In lathe counters there are secondary designs, resembling a concealed chain, which grows indistinct with age ; in the counterfeit it is very prominent and does not grow indistinct. $5. In Pa., on"B." First National BankofTama- qua, and on " D," First National Bank of Hanover. In N. Y., on " A." National State Bank of Troy and the National Bank of Pawling. All these four counter- feits were from the same plate, and are defective in the solid print ; in the duplicated designs found in the bor- 75 der, representing connected flowers, they being not con- nected but appearing in broken sections ; in having two lines on back of note at the left end of vignette, but one in genuine extending toward the "5" in lower margin, and in not having the light scallops that appear in the lower edge of lower margin on back continued out beyond the lathe counter. Most of these notes have Block type only, and do not have a " scallop seal," "series 1875," and the silk fiber as do the genuine. $5, Mass. On " C," First National Bank of North- ampton and Merchants' National Bank of New Bedford, and on "C" and "D," Hampden National Bank of Westfield. The cap and knee divisions in end of the boat, in the bow of which Columbus is standing, are omitted. The shading of the letters should be examined beneath the words "Five Dollars " in the genuine. These lines are parallel, while in the counterfeit they are farther separated one from the other beneath the words ' ' Dollars ' ' than under the word ' ' Five, ' ' thus appearing wedge-shaped. On back of note the line misses the "5" at the left end. $10, N. Y. on "A." The braces over the ''Ten" in upper left-hand corner are separated and come down to the "E" in the genuine; connected in the counterfeit. The shading should be examined beneath the words " National Currency," the lowermost line under the word " Currency " being twice as large in the counterfeit as it should be. The hearts in lathe counter in upper right- hand corner of the face appear with light spots on their lobes, and fade away with age on the genuine. In the 76 counterfeits these hearts are black and too prominent. The eagle's wing has three distinct divisions in the genuine ; in the counterfeit, poorly engraved. On the back of note the shoulders of the braces in lathe counters if extended would cross in the center ; in the counterfeits they are irregular. $10, Ind., "A." All on Lafayette, Muncie and Rich- mond banks having 1,496 as bank number are bad, and the braces over the word ' ' Ten ' ' are broken and do not come down to the "E," and they have Block type only, yet bear a pointed seal, having no "series 1875" nor "jute fiber." $10, Pa., " B." On First and Third National banks of Philadelphia, Pa. These counterfeits are very poor in both bank and Treasury numbers, in the hearts they being black and too prominent, in the eagle's wings and in the lathe work on back of the note. $20, in N. Y. on " B." The points of the seal are not regular. All N. Y. $20 bills that have been counterfeited bear the small pointed seal and have no charter number, and on those banks on which they have appeared S. B. Colby should appear as register of the Treasury on " B " bills. The counterfeits have L. E. Chittenden. On the back the lights and shades in the vignette are defective, and in the lathe counters in the genuine the larger spaces are within the light secondary line that goes waving around near the outer border. In the counterfeit the spaces are larger on the outside and are irregular. On the genuine there is a green, waved line which runs into and becomes a part of the shading of the " O " in the $20 77 on lathe counters; in the counterfeit it passes b} r , leaving a space between. There are $20 counterfeits ' 'A' ' plate on the First National Banks of Portland, Conn., and Indian- apolis, Ind., and on the Fourth National Bank of Phila- delphia, Pa., but they are very defective in artistic en graving and have no lathe work. $50 in N. Y., on "A," "B," "C" and "D" The left hand of the female representing Victory is plainly notice- able ; in the counterfeit it appears as though amputated. The middle finger of the right hand of the soldier, if extended, would hit his left foot : in the counterfeit it would strike his right. On back of note the ropes are shaded in the genuine, not so in the counterfeit ; and in the lathe counters the light secondary line is cut into by the tip of the "5" in both upper ends; in the counterfeit it misses the "5" in right counter. The figure of Justice in the genuine is blindfolded ; in the counterfeit she has eyes. $100. There have been two different plates known as the old and the new, counterfeit, issued on the $100 N. C. The old counterfeit was run off on the First National Bank of Boston, Mass., the Central National Bank of the City of New York, and the Ohio National Bank of Cincinnati, O. All these were defective in not having two pen strokes before and after the words "Will Pay", in not having the two "oo" in the "100" separated by a light line, in the portrait of Goddess and in the leaves in the lower margin, they resembling shells. The new counterfeit was the "Smith Plate." This is the most dangerous of all counterfeits ever issued on the National 78 Currency notes, and was run off on the following banks : The Merchants National Bank, of New Bedford, Mass. The Pittsfield National Bank, of Pittsfield, The National Revere Bank, of Boston, The National Exchange Bank, of Baltimore, Md. Second National Bank, of Wilkesbarre, Pa. The Pittsburg National Bank, of Pittsburg, Pa., and The Pittsburg National Bank of Commerce, of Pitts- burg, Pa. In all genuine $100 National Currency notes, the light space that separates the Goddess' wing from the shading of the large "C" is an eighth of an inch; in these counterfeits it is only a little more than half of the proper space. On the backs of these counterfeits, the lights and shades in the vignettes are very defective in the pants and leggins, and in the background below the chairs ; when the scalloped seal appears, it is very defective in not showing the slot in the key, not having the two light lines defining the square, and in the letters of the monogram, they being perfectly legible in the genuine. Some of these counterfeits are printed on imitation jute-fibered paper. SECTION 3. TREASURY NOTES. Si Silver Certificate, series 1886. Martha Washing- ton's portrait defective in every feature. No silk thread. Secondary pattern in lathe work looks too solid a white and broken. $2 Silver Certificates Hancock's portrait, series 1886. This counterfeit plate has not been captured, but the 79 defects appearing thereon that the counterfeiter cannot remedy, which are the only information the public should rely on, or that should ever he given to the public, are in having the flesh test on Hancock's portrait too dark, in having the secondary lines and designs in lathe work -on back of note appear in many places as primary lines, in not having genuine silk thread, which is represented by deeply printed lines that stain the paper, or by light printed lines, or by creasing, or by something within the paper that greatly resembles silk thread. $5 "C," series of 1875. The pen stroke between and below "seriesof" and in "1875" are omitted. Jack- son's portrait has a frightened expression and no jute- fibre; however, some have printed marks in the open space on back of the note instead. $5 Silver Certificate, Department series 1886. General U. S. Grant's portrait not life-like, and defective in every feature. No silk thread, but dimly printed lines on back of note instead, or omitted. The secondary design in lathe work in upper right-hand corner appearing like lace, poorly done. Shading of letters too dark. $10 "C," series 1875. Webster's portrait very poorly engraved in even* feature. The lights and shades on face and on the bosom of the shirt being too dark and the lapel of coat appearing as though it were patched, condemns instantly. Jute-fiber omitted, but sometimes imitated by printed marks in open space on back. $20 Silver Certificate, series 1880, on "C," bearing large, brown seal and "XX" printed in same ink. No silk thread ; the lights and shades on drapery of 8o Steven Decatur's coat very defective, having stripes on his left arm more like a sergeant's than a general's uniform. $20, series 1875-1878. Pen and ink production. Very defective, but most noticeable in lathe work. Has hairs put into the paper under a patch to represent the jute on* back of note. $50 "B," series of 1869. The pen stroke between "series of" and "1869" omitted. Blue ink in numbers of a bluish black ; large, bright cherry color seal, a faded brick color. Checks above Clay's portrait approaching a mass. The jute-fiber omitted, but sometimes imitated by printed marks upon the face of note near Clay's por- trait, and the three regular rows of similar sized period- shaped spaces that are on both ends of lathe counter in upper right-hand corner of face are very irregular and only two rows visible. $50, series 1875. Pen and ink production. Very de- fective. $500 "A," "B," "C" and "D," series of 1869. The shield in seal too prominent. The stars following Treasury- numbers have irregular points. The buttons on J. Q. Adams' portrait should be round, not having sides. The jute-fibers, that should be mostly blue, are imitated by something within the paper greatly resembling it, yet the red color predominates and it is too coarse. The lathe counters are equal to the genuine, and as the genuine notes on this bill have been mostly withdrawn, they should be only accepted for collection. CHAPTER VIII. HOW TO BECOME EXPERT. It is of the utmost importance in learning the distinctive elements of genuine paper currency to know wherein imitations are most liable to be defective. Correct information on this point must take into consideration the relative difficulty the counterfeiter labors under in imitating each of the fundamental principles heretofore explained, in the same way the minor principles must be considered, and then reference must be had to the kind of counterfeit under consideration both as regards the sort it purports to be, and the manner of its production. Counterfeit and spurious notes from plate, stone or wood engravings always fail in all of the fundamental princi- ples (unless they are in part or wholly from stolen plates) and always fail in some of the minor principles in a more or less marked degree. In giving the fundamental principles we carefully noted the instances where danger- ous imitations had been made ; to summarize, however, it may be given as the most general and comprehensive rule that has the fewest exception?, that all of these most dangerous imitations are most frequently most defective in the following order : (i). In general appearance. (2). In the texture and other distinctive qualities of the paper, including the color. (3). In the mechanical engraving, namely, the lathe work, the ruling engine work, the cycloidal engine work and the transfer machine 82 work. (4). In the color and other qualities of the ink employed in printing the treasury and bank numbers. (5). In artistic engravings, and in these very nearly in the order considered. (6). In the minor elements. If the imitation is a photograph, then not so much in the execution of the dark engravings as in the other colored designs, on account of the impossibility to reprint or retouch the colors other than black with accurate precision ; but the qualities of the paper are here infalli- ble. In altered notes the duplicated designs in the mar- gin or elsewhere, usually in figures or solid print, denot- ing the lawful amount, and the great fact that no two genuine notes of different denominations look at all alike on account of bearing different portraits, vignettes and entire designs form infallible guides. No one, save an inexperienced person, should be imposed upon by altered notes; to be certain never to take an altered note one has only to familiarize himself with the various artistic designs on each and every note that is a part of our circulating medium, which we have given with great care elsewhere. It is to be presumed that anyone who has thoroughly studied all the principles herein explained, and by care- ful study by comparison with genuine notes has fixed them firmly in mind, will need no further information, and yet before we close we feel like giving a word of caution. Do not take a piece of paper currency unless you see the entire note. While handling money take nothing for granted, but be careful that before you accept you know that each note is genuine. Get into this habit, 83 and it will be but a short time before you can tell at a glance and to a certainty. To become an expert judge of money one must master the entire subject, (i). He must become familiar with all the distinguishing characteristics of all the govern- ment safe-guards. (2). He must know the exact designs found on the various genuine notes. (3). He must know wherein counterfeits are most liable to be defective. (4). He must know the effect of age on both good and bad paper money. (5). He should know the various notes that have been successfully counterfeited. To accomplish this, the quickest method known is to secure practical instruction from competent, skillful and honest instructors. The next best method is to learn all that is contained in this work and to take a sample of each genuine note and thoroughly master it by careful exam- ination to the end that any variation therefrom will be instantly recognized. It is best for banks to select nice, new samples of all the genuine notes of the various issues of different designs that have been successfully counter- feited, and keep them for study and comparison. Then, whenever a suspicious note is presented, by ready com- parison with the standard, its true character may be infallibly told. This careful method of study, examina- tion and comparison are the several steps along the path- way that leads to the summit of knowledge where with self-confidence one can instantly and accurately deter- mine the true character of all paper money. This is the ability of the expert, which this work is intended to aid in securing. REASONS FOR THE NECESSITY OF BECOMING EXPERT. Why become expert ? The reasons why every person who handles currency should become good judges of money would seem to be self-evident, yet in a work of this character, that assumes to furnish complete practical information in regard to " Our Paper Currency " it seems not out of place to make the following suggestions : 1. In the first place, the law of the land declares "Counterfeiting or altering this note or passing any counterfeit or alteration of it, or having in possession any false or counterfeit plate or impression of it, or any paper made in imitation of the paper on which it is printed, is felony, and is punishable by five thousand dollars ($5,000) fine or fifteen (15) years imprisonment at hard labor, or both," which is found on the back of many notes. 2. " Ignorance of the law excuseth no man." 3. It is of the greatest importance to protect one from loss by imposition. 4. It is of the utmost importance to the government, in whose prosperity every good citizen should willingly do all in his power to keep our circulating medium pure. 5. The officers in all banks and other handlers of 85 public money, who are looked to in their several locali- ties as authoritive judges, have a public duty as \vell as a private interest to become expert judges, for they ought not, on account of lack of information, to be the uncon- scious agents of the counterfeiter in aiding to circulate counterfeit money. 6. Banks should have expert judges, not only to avoid loss from imposition and to aid in the suppression of counterfeit money, but also to enable them to identify and accept all genuine notes presented. I have seen many genuine notes pronounced counterfeit, and even branded as such by bank officials from want of a perfect knowledge. 7. Counterfeit notes have been returned to many banks by persons who said they received them therefrom, which, if only expert judges were in said banks, they would have been enabled to make affidavit that they had never handled the same, and thus protect themselves from this class of swindlers. 8. Every person should have a commendable pride in being proficient in his particular calling, ajid it can be truthfully said that no one who handles currency can be too well informed. INDORSEMEMTS AND RECOMMENDATIONS. From a large volume in our possession, consisting of endorsements and recommendations of my Instructions on Genuine Money, the few that are hereby submitted have been selected by the author. Page 198. "CHICAGO, ILL., June 28th, 1881. A short time ago there appeared at my window a gentleman bearing the card, B. N. Rooks, 'Expert.' I was inclined at first, being very busy, to pay him little or no attention. Second thought, I made an engagement with him to test his qualities, in fact, he tested mine. I have studied carefully his method of instructing those familiar with money. To tellers, cashiers or any one dependent on their judgment as to decision, the better the expert, the more he will appreciate the lesson Yours respectfully, (Signed) E. C. VEASEY." "Note Teller," First National Bank. Page 137. "FoND DU LAC, Wis., June 17, 1878. In these balmy days for the counterfeiter, it is a fine thing to be able to tell at a glance the best counterfeits, as well as identify the most worn genuine bills. After a person has been thoroughly instructed by Prof. B. N. 87 Rooks, he will have the perfect confidence and satisfac- tion of knowing- that he can tell at a glance and to a certainty. (Signed). GEO. L,. ARNOLD, Teller First National Bank. Page 245. "THE UNIVERSITY BANK OF L,os ANGELES, Cal. Prof. B. N. Rooks offers $1,000 for any one to whom he has not imparted his instruction, who will accurately separate his collection. He called at this bank on April i, 1890, and his test collection was separated by myself without an error. (I make this statement at the Profes- sor's request). He proved, however, by the letter writ- ten by me in 1878, and found on page 137 of this book, that he gave me his instruction twelve years ago. He has given instructions to four persons connected with our bank. Have ever found his instructions strictly reliable. I therefore most gladly recommend both the instructor and his valuable, reliable and practicable instruction to all who wish to become self-reliant in this important field of bank work. (Signed). GEO. L,. ARNOLD, Stamp: Cashier." "Compliments of THE UNIVERSITY BANK OF L,os ANGELES, CAL." Page 186. "OFFICE OF ASS'T TREASURER, U. S. ) ST. L/ouiS, May 15, 1880. j I have taken ' ' points ' from Mr. Rooks, and have no hesitancy in saying that anyone taking lessons from him will be enabled to detect the most dangerous counterfeits. I think his system and his mode ot imparting instruction are the most thorough, and the very best that is going. (Signed) WM. W. BELL, Chief Clerk and Cashier, U. S. Treasury. (Signed) SAML. E. SNEED, Teller U. S. Treasury." Page 10. "Fr. WAYNE, Ind., Dec. 30, 1874. The system of instruction on Genuine Currency given by Mr. Rooks I deem most invaluable, and cheerfully recommend Mr. R's teaching to anyone desirous of be- coming a ready and self-reliant judge of money. (Signed) W. L. PETTIT, Teller First National Bank." Page 213. "FoRT WAYNE, Ind., Sept. 19, 1884. Having ten years ago received instruction on Genuine Currency from Prof. B. N. Rooks, I can in confidence recommend the same to be all anyone needs to become a ready and self-reliant judge of money. I can tiuthfully say that since taking his instructions I have not lost a single counterfeit note. These instructions are of the greatest value to persons who have to handle money quickly. I therefore take pleasure in doing tribute to honest merit in thus unqualifiedly indorsing and recom- mending both the instructions and the instructor. (Signed) W. L,. PETTIT, Teller First National Bank, Ft. Wayne." 8 9 Page 184. "BOATMEN'S SAVINGS BANK, j ST. Louis, April 5, 1880. I No one handling currency can afford to do without the ' Rook's Method,' as it is in my opinion based upon a thorough knowledge of the genuine, and furnishes an infallible guide to the detection of the most cleverly executed counterfeits at sight, and affords positive means of identifying the most mutilated genuine bill. I therefore take pleasure in recommending him to all. (Signed) C. S. JONES, Paying Teller." Page 116. "CLEVELAND, O., Oct. 22, 1877. I regard the instruction imparted by Prof. B. N. Rooks the only true method of acquiring a complete knowledge of money. (Signed) WM. H. BARRIS, of E. B. Hale & Co., Bankers." Page 135. "MADISON, Wis., May 8, 1878. Prof. B. N. Rooks has certainly reduced the knowledge of genuine money to a perfect system that anyone can master and apply; after being thoroughly instructed by him the most cleverly executed counterfeits can be detect- ed at a glance ; having tested them we believe them complete and excellent in every particular. They are all he claims for them. A sure and ready test for all paper currency. (Signed) A. W. CLARKE, Asst. Cashier Park Savings Bank." 90 Page 134. "STATE TREASURER'S OFFICE, MADISON, May 31, 1878. The instruction imparted by Prof. B. N. Rooks in the science of genuine money is very thorough and complete. The facts given are sufficient to enable any person to become a ready and self-reliant judge of money. (Signed) RICHARD, GUENTHER, State Treasurer. Page 221. "OMAHA, Neb., Nov. 24, 1887. When I first met Prof. Rooks I am free to confess that I was very skeptical, believing that twenty years ex- perience had given me such knowledge of genuine cur- rency as could not be materially improved by his instruc- tions, but having studied carefully his methods I am pleased to say that I consider the facts given by him worth many times the expense of taking his instructions. "To tellers, cashiers and others who handle currency, I would say the better the expert the more he will appre- ciate these instructions." (Signed) R. CARRIER, Ass't Cashier Omaha National Bank." Page 232. " FIRST NATIONAL BANK, ) San Francisco, Cal. ) Having been instructed by Prof. B. N. Rooks on Gen- uine Currency, I am pleased to say they are complete and of lasting value. This instruction being founded on the genuine can be easily remembered and quickly ap- 91 plied, and furnish ready and certain tests of the true character of any note. I gladly recommend them. (Signed) GKO. R. MAXWELL, Paying Teller. Page 237. "DONOHOE, KELLY & Co., SAN FRANCISCO, Cal. Take the Rooks' Instruction on Genuine Currency, and you will have a far better kowledge of what consti- tutes the government securities on our paper currency than is possible to obtain in any othtr way, either by counter experience, or by taking the imperfect instruc- tion on counterfeit money as imparted by other teachers. This is the very best instruction of the best kind, being complete and thorough information on the genuine. We therefore cheerfully recommend it. (Stamp) 'DONOHOE, KELLY & Co., Aug. 28, 1889.' (Signed). J. W. FLOOD, of Donohoe, Kelly & Co. " M. I. RODRIGUE, Receiving Teller. " F. R. CHADWICK, Exchange Teller. C. M. FLOOD, Ass't Teller." Page 236. "PACIFIC BANK. We deem the facts given by Prof. B. N. Rooks on Genuine Currency absolutely indispensable to all persons 9 2 handling currency. This instruction is reliable, thorough and very practical, as the general principles apply alike to all bills and and can be easily remembered and quickly applied. We, therefore, cheerfully recommend both the instruction and the thoroughness with which it is given. (Signed). F. V. MCDONALD, Cashier. Seal: Louis VESARIA, PACIFIC BANK, Paying Teller. San Francisco. M. W. UPTON, Receiving Teller. ' ' Page 252. " FIRST NATIONAL BANK, PORTLAND, Oregon, Feb. n, 1891. To those desiring to possess themselves of the knowl- edge imparted by Prof. B. N. Rooks, it is safe to say no more perfect method exists. It is at once clear and comprehensive, and its thoroughness in every detail commends itself at once. I think it a privilege to commend what I have reason to believe the most perfect system extant. (Signed). D. W. Ross, Paying Teller." University of California SOUTHERN REGIONAL LIBRARY FACILITY 305 De Neve Drive - Parking Lot 17 Box 951388 LOS ANGELES, CALIFORNIA 90095-1388 Return this material to the library from which it was borrowed. UC SOUTHERN REGIONA A 000018391 3 Agreement (pHE RIGHT to read and retain in our possession this volume of "Our Paper Currency ' ' has been purchased from the author under the expressed understanding and agreement, that it shall only be used to protect our interests in saving us from 1 oss by imposition of counterfeit or fraudu- lent money; that it will not be loaned to any person excepting to those in whose loss our pecuniary interests are affected, and that a copy of any part of the same shall not be furnished to anyone; accepting the above 'conditions as part consideration paid there- for, we do hereby agree to" the same as our signature or seal hereto signed or affixed, WlTNESSETB : IMiTLBIt MAY OMAHA,